Tlalocan, Under The City Of Gods

ERENDIRA IKIKUNARI is a beautifully shot action film that recreates the 16th century legend of Erendira, a young Purepecha woman who became an icon of bravery during the destruction of indigenous Mexico by the Spanish conquistadors. When the Spanish arrive, they take advantage of the discord and conflict among the Mexican natives, reaping the benefits of a region divided. Erendira, a young Purepecha women on verge of marriage, refuses to allow her land to be destroyed and stands up to the social conventions prohibiting women to participate in battle. In the face of the invasion, she steals and learns to ride a horse against the Spanish, winning the respect of her tribal leaders. Along her amazing journey, she becomes a symbol of strength and resistance within her culture. This feature length film was shot entirely in the original Purepecha language.

When King Motecuzoma dies in 1468, a drought sets upon the Mexicas' land. The younger Motecuzoma sends a retinue to collect tributes from the peasants and make an offering to Coatlicue at Aztlán, the home of their ancestors. The peasant Ollin finds a discarded tribute and makes his own journey to Aztlán to appease his rulers.

A woman who escapes an overwhelming reality into a world of nightmares, by eating the forbidden fruit of Paradise's Tree of Eternal Life; a very frustrated man, both in his professional and love life, whose serial killer dreams may become a reality; and an autobiographical documentary on the director's healing process of a terminal cancer. A film divided in three chapters: heaven, hell and the world.

Volarte is a free flight through a computer generated Palace of Fine Arts, offering the murals of Rivera, Orozco, Siqueiros, Tamayo, Montenegro, Rodríguez Lozano and González Camarena. A novel view that allows to enjoy these works of art in their architectural context, in a way that's impossible in reality

Direct-to-video horror anthology.

83-year-old Héctor García, a renowned photographer, has devoted over 60 years to capturing transcendental moments of Mexico, but especially the day-to-day life of the city he lives in, mostly photographing poverty and marginality. Half a century later, this documentary accompanies photographers Héctor and María García along the center of the city with the purpose of carrying out a tribute and a challenge: to film Mexico D.F. following in the footsteps of García's aesthetics.

Searches about how we've gotten historical imagine. In the school children are describe us the pictures of their history books, the ones from Casasola's picture files. Offering us a testimony about the educational process and the power of photography in the construction of the historical speech.